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The Dixie Chicks perform at the Bi-Lo Center on May 1, 2003, in Greenville, S.C., on the opening night of their tour of the United States. "We have a plan for this," lead singer Natalie Maines said after the band's first set. "If you're here to boo, we welcome that. We're going to give you 15 seconds to do that." And when Maines counted to three, the sold-out crowd erupted in cheers and the Chicks broke into "Long Time Gone." (Photo: Tennessean file - AP Photo/WireImage, Rick Diamond, HO)

The Chicks had sued their record company, Sony, claiming they hadn’t been properly compensated for all those albums sold, and they’d settled that lawsuit out of court. They’d gone to Texas and made an excellent, accomplished, acoustic-based, bluegrass-informed album, produced by Maines’ steel guitar-playing father, Lloyd Maines.

The album, called “Home,” sounded nothing like anything else being played on country radio, but the Chicks were powerful enough that country stations felt like they had to play the music.

The first single on “Home,” released via the Chicks’ aptly named Sony imprint, Open Wide Records, was a jaunty acoustic number called “Long Time Gone” that included this rumination on how country radio had grown lousy: “Listen to the radio to hear what’s cookin’ but the music ain’t got no soul,” Maines sang.

A lead single that criticized the very stations that would be playing it? Yes, sure. Did they play it? Absolutely. Big hit.

They also played follow-up single “Landslide,” a contemplative version of an old Fleetwood Mac song. The third single was “Travelin’ Soldier,” a down-tempo lament set in the Vietnam War era, about a tragic love affair between a high school girl and a soldier. Radio, perhaps grudgingly, ate it up.

So the most popular act in country music was working outside the lines, skirting the system and winning at every turn. Then, on March 10, 2003, the Chicks played a show in London, at the same time U.S. troops were preparing to go to war in Iraq, hoping to avenge the 9/11 attacks and to find weapons of mass destruction.

BRUSSELS — Universal Music Group won approval Friday from American and European regulators to buy the famed British music company EMI, including the Beatles catalog. But the EU imposed stringent restrictions on the deal, forcing Universal to sell some of EMI’s biggest acts, such as Coldplay and Pink Floyd.

The U.S. Federal Trade Commission said the Universal and EMI businesses were different enough from each other that the deal wasn’t anti-competitive.

The FTC’s decision was the last hurdle that Universal, which already represents Jay-Z, Nirvana and U2, had to clear before it can go ahead with its $1.9 billion purchase of EMI’s recorded-music division.

The deal is one part of the break-up of EMI. Regulators already have allowed a group led by Sony Corp. to buy EMI’s music publishing arm for $2.2 billion.

Universal’s rivals, such as Warner Music and small independent labels, have protested the deal, saying it could squeeze out other players.

If it goes through, the Universal deal would reduce the number of major record labels to three from four — Universal, Sony and Warner Music Group — a concern cited by European regulators.

Universal, a unit of Vivendi SA, welcomed the announcement, brushing off suggestions that it is being forced to sell so much of EMI that the deal might not make sense any more.

Among EMI assets that must go is Parlophone, home to British bands Coldplay and Pink Floyd, as well as Kylie Minogue and David Bowie. The Beatles, which are part of Parlophone, were exempted.

Vivendi shares rose 2.8 percent to close at 15.69 euros ($20.43) on Friday after the deal was announced.

— Sarah DiLorenzo
Associated Press

Business Writer Ryan Nakashima in Los Angeles contributed to this report.

LOS ANGELES — A group led by Sony Corp. said Friday it has purchased Britain’s EMI Music Publishing for $2.2 billion from Citigroup, creating the world’s largest music copyrights company with a catalog that includes hits from Motown, The Beatles, Jay-Z and Norah Jones.

Now all that remains of the storied British label group is its recorded music division, which Vivendi’s Universal Music Group has offered to buy for $1.9 billion. That deal is being looked at by European and U.S. regulators. If they approve some time later this year, the world’s major music companies will be reduced from four to three.

Recorded music companies have argued that they need to combine resources to survive in an industry crippled by piracy, as the legitimate digital distribution of music is still in its infancy around the globe.Continue reading →

Sony/ATV chief Donna Hilley talks with Alabama member Randy Owen before signing members of the group as Tree songwriters in 1999. (File / The Tennessean)

By Bobby Allyn
The Tennessean

Donna Hilley, the affable former radio secretary turned Sony music executive who helped engineer Sony’s takeover of Tree International Publishing, died Wednesday at her home in Brentwood. She was 71.

Hilley, a Birmingham, Ala., native, began her career in the late ’50s as a typist for Nashville’s WKDA radio, then a 250-watt rock station.

In the early ’70s, after a stint in public relations, Hilley was hired by Tree, the music publisher. Twenty years later, she was leading the company, whose song copyrights nearly quadrupled under her guidance.

On Arista, Jackson scored a slew of hits, including "Where Were You (When the World Stopped Turning)," "Remember When," "Chasin' That Neon Rainbow" and "Gone Country."

News of Jackson's parting with Arista came via a two-sentence press release from parent company Sony Music: "Sony Music Nashville wishes to thank Alan Jackson for their long association and the many hit records achieved as a result of that association. In an amicable parting, Sony confirms that Alan has delivered his final recordings to the company and wishes him well."